1. “You can't see me but it's a portrait” is a theatrical and visual fiction constructed upon meetings with Portuguese aged from 9 to 90 about their lives and their notions of community. The base created from an ensemble of interviews is transformed, expanded and connected by writing and mise-en-scène, containing simultaneously the singular imaginary of each participant and its dilution in the perspective of the whole.

    Closely, each individual is between two or many, belonging to all and none, without even belonging to himself or herself. At a distance, writing is used to dress and undress characters that talk about the thirsts of this century. We ask ourselves what would happen if more than 30 people, that didn’t meet before, would get stuck in a room and have only one hour to manage their differences and get their way out of there. “You can't see me but it's a portrait” is this kaleidoscopic crossroads of real testimonies, utopias of living together, desires, ideas of community, thirst and invented rules of mechanics.
    During the process of creation of this piece I discovered how much narrative - individual and collective - can function as an automatism, independently of events and will. Even the most fragmentary, non-synchronized composition will generate an atlas of meaning. It's inevitable: just like math laws ("two points are enough to determine a line"), two people are enough to form an idea of community. I tried to accept this condition by applying to dramaturgy some elements that are proper to the movement of clouds. I tried to consider the idea of community and identity as something temporary, in a permanent and un-ending movement.

    Rita Natálio

    After “Nothing of what we have said so far had to do with me”, also constructed upon interviews, Rita Natálio invites visual artist Luciana Fina to this project to promote a dialogue with her work around filmic portraits:

    Quodlibet ens is not “being, it does not matter which”,
    but rather “being such that it always matters”...
    (Giorgio Agamben)

    I met the persons that contributed to the research process of this work during the creation residencies, in Fundão and, months later, in Lisbon. Each person was invited to prepare her/himself for a portrait, to rethink the need, the experience, the illusion, the time of a portrait. Some of these portraits are with me in questions until on stage. Memory, desire and happening, which of these times combines the portrait? Does it speak in singular or in plural? The individual here doesn't want to signify a determined identity, by the name, by the belonging to a group or social class, or by the general absence of belonging, she/he is here essencialy to designate the singular condition of representing her/himself and being represented, to conjugate a time that we belong, in presence of her/his representation. She/he looks like, seems like, might be... “any” being, exposed singularity. In the scenic space, the full body portraits are together suggesting the restlessness of a narration, activating the hypothesis of community, not incorporated, but possible.
    Luciana Fina

    Artistic direction: Rita Natálio
    Guess artist – scenic installation: Luciana Fina
    Performers: Cláudio da Silva, Carla Bolito, Nuno Lucas
    Special appearence: Stanislaw Talejko
    Original text: Rita Natálio and collective writing by Carla Bolito, Cláudio da Silva and Nuno Lucas
    Light design: Carlos Ramos
    Sound design: Rui Dâmaso and Pedro Costa
    Original soundtrack: Ana Gandum, letra de Miguel Coelho
    Artistic consultants: Sofia Dias
    Production: O Rumo do Fumo
    Co-production: O Rumo do Fumo, Festival Escrita na Paisagem, Município do Fundão/ A Moagem – Cidade do Engenho e das Artes, Fundação Caixa Geral de Depósitos - Culturgest and Festival Temps d’Images
    Artistic Residencies: A Moagem – Cidade do Engenho e das Artes, Fundão, Alkantara and O Rumo do Fumo
    Partners: Centro de Investigação e Estudos de Sociologia do Instituto Universitário de Lisboa (CIES-ISCTE)
    Thanks to: Andrea Sozzi, João Ribeiro, Magda Bull
    Lisbon interview participants: Alberto Pimenta, Aissato Dajaló Baldé, Ana Hatherly, Andresa Soares, Carlos Natálio, Carlos Gomes, Gonçalo Pereira, Luísa Veloso, Lígia Soares, Sofia Dias, Stanislaw Talejko, Vítor Roriz
    Fundão interview participants: Ângela Duarte, Amanda Guapo, Bruno Fonseca, Carlota Madeira Inês, David Josué Oliveira, Daniela Carvalho, Francisco Tavares, Fábio, Ivan, José Lopes Correia, Joaquim Caldeira, Jerónimo Mateus, Maria da Lurdes Brito, Maria Anunciação Amaral, Maria Tavares, Marco Fonseca, Miguel Cardoso, Paulo Santareno, Ricardo Brito, Sara Tavares, Vítor Almeida

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Rita Natálio

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Rita Natálio
Born in Lisbon 1983. She studied History at Universidade Nova de Lisboa and Choreography at the University Paris VIII (for this she received a grant from Calouste Gulbenkian Foundation). As a performer she studied at Forum Dança at the…

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Rita Natálio
Born in Lisbon 1983. She studied History at Universidade Nova de Lisboa and Choreography at the University Paris VIII (for this she received a grant from Calouste Gulbenkian Foundation). As a performer she studied at Forum Dança at the Choreographic Research Program 2006 (Lisbon) with Vera Mantero, João Fiadeiro, Emmanuelle Huyn, Mathieu Doze e Nicolas Floc’h. She participated in several workshops of composition and improvisation with Christian Rizzo, Loic Touzé, Armando Menicacci, amongst others.
Her main activity has been focused on dramaturgy and follow-up of artistic and research projects. She collaborated with João Fiadeiro in “Where does the light go when it’s gone?” (2007) and “I was here” (2007), Claudia Dias in “Das coisas nascem coisas”(2008) and Vera Mantero in “We’re going to miss everything we don’t need”(2009), “Learning how to sow” (2009), the lecture-performance “Piece Together”( 2009) and “Bons Sentimentos, maus sentimentos” (2009). She also worked with RE.AL, a structure created by João Fiadeiro, coordinating and assisting training/research projects around the method Real Time Composition.
Since 2008, she started developing her own work. With the video-performance artist Ivo Serra, she co-created “Screen” for Temps d’Images Festival in Lisbon and the short-film “Looking back into the future” (Honorable Mention at FICAP Portugal 2008). She also directs an improvisation project called “Nothing of what we have said so far had to do with me” premiered in Fundação de Serralves in Porto.
This current year, she is working with Vera Mantero in the publication of an artist book and participating on the research project Linea de Fuga organized by Catarina Saraiva with Universidad de Castilla – La Mancha and Casa Encendida (Madrid). She teaches and coaches the Choreographic Creation, Dance Research and Training Programme at Forum Dança in Lisbon. She was invited to coordinate documentation and to write about the program of alkantarafestival 2010. She is also following-up Guilherme Garrido and Peter Ampe’s new duet “Still standing you”, Claudia Dias’s solo “23+1”, João Lima’s research work for ITAU Cultural in Brazil, Antonio Lopes and Monica Gillette duo “Lights on doesn’t mean we’re home” and Marianne Baillot and Antonio Lopes “Measure it in inches”.
Rita Natálio is part of Sweet and Tender Collaborations, an international network and platform of artists (sweetandtender.org)

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